06 gennaio 2014

Due apparizioni (epifanie?) di Françoise Hardy nel catalogo recente della él - da tempo votata al recupero tematico di antichi materiali e non più alla promozione di nuovi talenti - che non avrebbero tuttavia sfigurato negli anni ruggenti dell'etichetta di Mike Alway, perfino accanto a Would-Be-Goods e Bad Dream Fancy Dress: l'album di esordio - del 1962, con Tous Les Garçons Et Les Filles - arricchito di numerose versioni in italiano e uno sguardo di insieme alla scena yéyé francese dei primi anni sessanta, Francoise Hardy and Her Contemporaries. "Françoise Hardy breathed new life into the pop scene during the early 1960s. She brought beauty, intelligence, mystery and a disarming naturalness that the public responded to by making her a household name before she was out of her teens. Françoise embodied the style, vitality and attitude of the extraordinary decade that lay before her. She was important then and her personal and artistic influences over the ensuing years would also prove to be considerable."

Across a broad panorama of eclectic taste, the new él combines a sensual, but serious-minded look at history, seasoned with the bravura style of the original label. Diversity is él's great virtue and anyone that might imagine the likes of Joao Gilberto, Gabor Szabo, Monica Zetterlund, Ravi Shankar, Edgard Varese, Sophia Loren, Serge Gainsbourg, Nana Mouskouri, Chet Atkins and Baden Powell to be strange bedfellows, will find entertaining evidence to the contrary here.The new él is only sometimes about flowers and sunshine and al fresco eating, whether the subject is the Voice of Greece, the pioneers of Musique Concrete or a Brazilian guitar master, él's primary concern is with what is poetic and distinctive and compelling and to present it with a little style.